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WIND14029 Wycliffe Gordon Ad.qxp_Layout 1 3/13/19 9:40 AM Page 1 July 2019/ Volume 47, Number 3 / $11.00 Keith Brown — Page 12 INTERNATIONALINTERNATIONAL Wycliffe Gordon Depends on Yamaha. “I love Yamaha trombones because they play beautifully and are of the highest quality and craftsmanship. These standards have been established and maintained by Yamaha for many years.” ASSOCIATION JOURNAL THE QUARTERLY PUBLICATION OF THE ITA – Wycliffe Gordon International Jazz Trombonist, Composer and Educator INSIDE INTERNATIONAL TROMBONE ASSOCIATION JOURNAL The Quarterly Publication of the ITA News — Page 6 Volume 47, Number 3 / July 2019 The International Trombone Association is Dedicated to the Artistic Advancement of Trombone Teaching, Performance, and Literature. Contents Features Keith Brown: Renaissance Man ITA JOURNAL STAFF by Douglas Yeo .....................................................................12 Managing Editor Beethoven’s Funeral Music Diane Drexler by Andrew Glendening ..........................................................36 3834 Margaret Street, Madison, WI 53714 USA / [email protected] ITW Retrospective Associate Editor by Colleen Wheeler ......................................................... 38 Jazz – Antonio Garcia Nikolai Sergeievich Fedoseyev and the Piano Reduction Music Department, Virginia Commonwealth University, 922 Park Avenue, for Rimsky-Korsakov’s Concerto for Trombone P.O. Box 842004, Richmond, VA 23264-2004 USA / [email protected] by Timothy Hutchens ............................................................50 Assistant Editors News Coordinator - Dr. Taylor Hughey 950 S Flower St Apt 213, Los Angeles, CA 90015 Departments [email protected] / 865-414-6816 Announcements ...................................................................... 2 Orchestral Sectional – Weston Sprott President’s Column - Ben van Dijk ........................................... 5 [email protected] General News - Dr. Taylor Hughey ........................................... 6 Program & Literature Announcements – Karl Hinterbichler Music Dept., University of New Mexico, Albuquerque, NM 87131 USA Nuggets of Wisdom - M. Dee Stewart and Brad Edwards ......... 11 [email protected] / fax 505-256-7006 Pedagogy Corner - Joshua Bynum ........................................... 30 Literature Reviews – Mike Hall Literature - Karl Hinterbichler ................................................. 56 Old Dominion University – 2123 Diehn Center Center for the Performing Arts 4810 Elkhorn Avenue, Norfolk, VA 23529 USA Literature Reviews - Mike Hall and David Stern ....................... 58 [email protected] / fax 757-683-5056 Audio/Video Reviews - Micah Everett ..................................... 62 Audio/Video Reviews – Micah Everett Advertiser Index .................................................................... 68 Department of Music, University of Mississippi, PO Box 1848, University, MS 38677-1848 USA / [email protected] Pedagogy Advisory Council – M. Dee Stewart & Brad Edwards Submit a Nugget of Wisdom to [email protected] Advertising Manager and Pedagogy Corner – Josh Bynum Hodgson School of Music - University of Georgia 250 River Road, , Room 457, Athens, GA 30602-7278 USA Phone: 706-542-2723 / [email protected] / Fax: 706-542-2773 The International Trombone is the official publication of the International Trombone Association. I.S.S.N. 0145-3513. The ideas and opinions expressed in this publication are those of the individual writers and are not necessarily those of the International Trombone Association. All rights reserved. Cover image – Nathan Gingrich's Slide into Spring celebration from the 2016 International Trombone Week. Photo courtesy of Nathan Gingrich. Designed by – Jeff McMillen - [email protected] For advertising rates or submission guidelines please visit our website: www.trombone.net Keith Brown — Page 12 International Trombone Association Journal / www.trombone.net -1- Keith Brown Keith Brown, c. 1971. -12- International Trombone Association Journal / www.trombone.net Keith Brown Renaissance Manby Douglas Yeo We all had them, and we had them all. You could not have And so, the ritual began once again; that weekly only nine. You had to have all ten. Because when the call meeting of friends, four who played trombone and one came—and you prayed and prayed and prayed that it would with a tuba. We gathered to play orchestral excerpts. We come—you had to have them. If you didn’t have them, you sat in Room MA-004, or any room that was available, all couldn’t play. And the thing you wanted to do more than in a row, imagining that Solti, or Bernstein, or Ormandy, or anything else was to play. Ozawa was standing in front of us, conducting. Opening The call usually came on a Friday afternoon. You had our Brown books, we played our hearts out. We played organized your day so you could be in your dorm room, our favorites. And then we played them again. And again. sitting by the telephone, waiting. Hoping. And when the We had developed a shorthand, a kind of secret language phone rang—it had that iPhone ring that today is called to identify them. We didn’t need many words. Prok 5. O “old phone” but this really was an old phone, a heavy one, to the end. The Ride. Then we played the solos for each a black one with a dial with holes in it— other. Bolero. Tuba mirum. Hary Janos. you smiled. It was happening. And you And when we were done—when we were were ready. done sitting in chairs where we pretended The voice on the other end was we were our heroes, heroes like Friedman familiar. The sentences were short, like and Crisafulli and Kleinhammer and those breathless conversations in low Jacobs; Herman and Cohen and Ostrander voices you heard between gangsters in and Novotny; Boyd and Kofsky and those old movies in black and white Anderson and Bishop; Dodson and you used to watch on TV with your dad. Stewart and Harper and Torchinsky; Words shot out like machine gun fire. Gibson and Barron and Hallberg and Short. On point. But he wasn’t talking to Schmitz—we imagined the conductor Mugsy or Al Capone. He was talking to would turn to us and, using his baton like you. King Arthur’s sword, Excalibur, touch us “Tonight. Room MA-004. 7 o’clock. on the shoulder, and say, “Rise, you who Bring your Brown books. Yellow, red, have proven yourself worthy. Gather your blue, and green. But bring the others, too. You never know.” Brown books; come and join us.” This was our dream. This “Yes,” you said. “You never know.” was our passion. This was our quest: to attain a position “Jim and Andrea are coming. Dan, too. Oh, and bring in a symphony orchestra. And the Brown books helped us a music stand.” get there. You paused, so as not to sound too eager. Then, “I’ll be Somewhere, someone knows how many copies of there. I’ll have my Brown books.” Orchestral Excerpts from the Symphonic Repertoire for Click. The phone went dead. You sat back and looked Trombone and Tuba Volumes I–X compiled and edited by at your watch. Your eyes drifted up to the shelf above Keith Brown were sold. I don’t know. I’ve tried to find out, your desk. There, next to a dog-eared Harvard Dictionary but apparently a number that large has not yet been invented. of Music that you bought used for $8.00 and your pristine Thousands? Tens of thousands? A zillion? It doesn’t matter. copy of Grout—it was brand new, the most expensive It is enough to know that from 1964 into the early 2000s, possession you owned apart from your trombone, every trombone and tuba player in the United States and purchased with every penny you earned from two Saturday many others around the globe who aspired to an orchestral shifts working at the 7-Eleven because you thought it would career probably had all ten volumes. And also, his separate impress your girlfriend (she wasn’t impressed)—you saw excerpt book of works by Richard Strauss. Keith Brown’s them. They were there—all ten of them. And with them, orchestral excerpt books were used by an uncountable you would play. number of low brass players in an era before the internet, International Trombone Association Journal / www.trombone.net -13- Keith was my associate in the Philadelphia Orchestra for several years. He was a great friend and wonderful colleague. He was one of the finest trombonists I have ever heard. — Henry Charles Smith III Principal trombone, Philadelphia Orchestra, 1956–1967 Cherry Classics, The One Hundred, and IMSLP. They were how we learned the orchestral repertoire. All of it. The standard, the mundane, and the obscure. This is how so many trombonists knew Keith Brown. He was the name behind the Brown books. And so much more. Our libraries had the Handel Oboe Concerto, the Corelli and Galliard Sonatas, the Speer Sonata for four trombones, Kopprasch and Kreutzer and Mueller and Rode and Blume and Slama and Stephanovsky and Werner Studies. They all bore his name. So did Debussy’s Romance and the Schumann Romances, Marcello’s Sonatas, the Bach Cello Suites and the Baroque master’s viola da gamba Sonatas, Rachmaninoff’s Vocalise, and Vivaldi’s Sonata “Il Pastor Fido.” And sixty other solos and books of exercises for trombone as well as chamber works for trombone and brass ensembles. Our music cabinets were veritable rainbows, filled with editions by International Music, all with colorful covers emblazoned with the name KEITH BROWN. Keith Brown dressed as a conductor, Columbia Elementary School, c. 1939. His name was all that many people knew about him; his editions never carried his biography. But behind those words—KEITH BROWN—was a superb artist/musician/ Early years trombonist who had a long career at the highest level. It was in Colorado Springs, Colorado, at 4:35 a.m. on This he did as an orchestral player and soloist, a gifted October 21, 1933, where Vernon Keith Brown—the oldest chamber musician, a conductor, clinician, editor/arranger, of two sons born to Kenneth Vernon and Audrey Lucille and musical ambassador. At the heart of his character, he Nelson Brown—took his first breath. While his full name was a loving husband, father, grandfather, and uncle.